How was Segregation Reinforced in the Neighborhoods of West Philadelphia?

West Philadelphia during a period of intense struggles over racial discrimination in the neighborhoods is expressed from housing to television. Specifically, the groups of white homeowners organized to prevent black families from moving into West Philadelphia. Moreover, the racial tensions around Bandstand' West Philadelphia studio threatened to scare off the advertisers. Bandstand's producers wanted to make the show's representations of Philadelphia teenagers safe for television advertiser and viewers, and they decided to achieve this goal by not allowing black teenagers to enter the studio. On the other hand, Bandstand also implemented racially discriminatory admissions policies, and white homeowners associations justified their defense of racial segregation through a language of private property and profit that monetized and racialized. As a result Bandstand became a target of protests by blackteenager who were excluded from the show demand and evasions into courtroom argument and street protests. On page 114 In June 1961, the Philadelphia branch of the NAACP filed a lawsuit in the U.S. District Court, charging the Philadelphia Board of Education with discriminating against black students and teachers by not providing and maintaining a racially integrated school system.

In high school, they also have difference treatment of black students and their denials of discrimination, the Philadelphia school board's policies resembled those of bandstand. They think the show's admissions policy was lightproof ,yet repeatedly denied admission to black teenagers.. Therefore, Jewish civil rights leader and black educational activist waged separare media campaigns, including television and radio broadcast and newspaper articles, to call attention to the city's educational inequality. As result , there are many street protest on page 4 By the early 1960s, the struggle over de facto segregation in the city's schools emerged from written demand and evasions into courtroom arguments and street protests. West Philadelphia provides a unique example of how schools and television articulate similar visions of segregated youth culture. Beside American Bandstand, the other shows brought together teenagers of different races to discuss tensions in racially changing neighborhoods at West philadelphia. They highlighted the creative talents of black teenagers and brought image of these teens into Philadelphia homes, it also offered a mediated space for interracial association.. According the book in the late 1950 and early 1960s the exclusionary racial practises of marginalized black teens from this imagined national youth culture.

At the same time, they excluded black teenagers from the program's studio audience, the show's image of youth culture move ethnicity and gender to the foreground. Until 1964, American Bandstand continued to discriminate against black teenagers ,so the author offers new archival documents, newspaper articles, and the oral histories that proved it. This approach evades the specific local history surrounding American Bandstand's years in Philadelphia, as well as the anti black racism in Philadelphia and nationally that motivated the show' discrimination. Although they were not change the show's policies, the efforts of these black teens clearly show that American Bandstand's studio continued to remained a site of struggle over segregation through the early 1960s. Yet, these stories of the black teenagers who made American Bandstand a civil rights issue are erased in histories of American Bandstand. The historical evidence ultimately led me to see how American Bandstand emerged from strong desires to protect racial segregation in both Philadelphia's neighborhoods and school and also in local and national youth consumer culture. Overlapping forms of defensive localism in housing and television gave evidences why Bandstand implemented racial.

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